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MASTERS    IN    ART 


K\Sem?i;gffllustratEti'0onoar^^ 


The  remaining  artists  to    be  considered    during   the  current 
lgo6.  Volume  are  Goya  and  Francia.    The  numbers  of  '  Masters 
in  Art  '  which  have  already  appeared  in  1906  are  : 

pakt  73,  January stuart 


Part  74,  KEIiRUARY 
PAKT75,  MARCH       . 
Part  76,  APRIL 
Part  77,  MAY   . 
Pakt78,JUNE  . 
Part  79,  JULY 
Part  80,  AUGUST     . 
Part  81,  SEPTEMBER 

PART     82,      r  II  1: 


.    DAVID 

.       BOCKLIN 

SODOM  A 

CONSTABLE 

METSU 

INGRES 

WILKIE 

GHIRLANDAJO 

ISSUE     FOR 


©ctoher 

WILL  TREA  r   OF 


NUMBERS   ISSUED   IN    PREV 
OF  'MASTERS  IN 

VOL.   1. 


Part 
Part 
Part 
Part 
Part 
Part 
Part 
Part 
Part 
Part 
Part 
Part 


Part 
Part 
Part 
Part 
Part 
Part 
Part 
Part 
Part 
Part 
Part 
Part 


VAN   DYCK 

TITIAN 
, VELASQUEZ 

HOLBEIN 

BOTTICELLI 

REMBRANDT 
,  REYNOLDS 

MILI.E  r 

GIO.    BHI.I.INI 

MURILLO 

HALS 

RAPHAEL 

OL.  3. 

z;,  PHIDIAS 

26,  PERUGINO 

27,  HOLBEIN  g 

28,  TINI  ORETTO 

29,  P.  deHOOCH 

30,  NATTIER 

31,  PAUL  POT  TER 
J2,  GIOTTO 

33,  PRAXITELES 

34,  HOGARTH 
3;,  TURNER 
36,  LUINI 

§  Drau^ir,, 

VOL.  5. 


V 


Part 
Part 
Part 
Part 
Part 
Part 
Part 
Part 
Part 
Part 
Part 
Part 


Part 
Part 
Part 
Part 
Part 
Part 
Part 
Part 
Part 
Part 
Part 
Part 


'lOUS  VOLUMES 
ART' 

VOL.  2. 

,  RUBENS 

,  DA  VINCI 

,  D  U  R  E  R 

,  MICHELANGELO* 

,  MICHELANGELO! 

CORO  r 

BURNE-JONES 

TER    BORCH 
, DELLA   ROBBIA 
, DEL  SARTO 
,  GAINSBOROUGH 
, CORREGGIO 


Part 
Part 
Part 
Part 
Part 
Part 
Part 
Part 
Part 
Part 
Part 
Part 


BARTOI.OMMEO  Part 
GREUZE  Part 


DURER* 
LOTTO 
LANDSEER 
VERMEER 


Part 
Part 
Part 
Part 


PINTORICCHIO  Part 
THE  VAN  EYCKS  Part 
MEISSONIER  Part 

BAR  YE  Part 

VERONESE  Part 

COPLEY  Part 

*  F.ngravings 


VOL.  4. 

ROMNEY 

ERA   ANGELICO 
,  WATTEAU 
, RAPHAEL* 
,  DONATELI.O 
,  GERARD    DOU 
, CARPACCIO 
,  ROSA  BONHEUR 
,  GUIDO  RENl 
,  P.  deCHAVANNES 
,  GIORGIONE 
,  ROSSETTI 

fSCOS 

VOL.  6. 

WATTS 

PALMA    VECCHIO 
VIGEE   LE   BRUN 
, MANTEGNA 
CHARDIN 
BENOZZO 
JAN  STEEN 
MEMLINC 
CLAUDE 
VERROCCHIO 
RAEBURN 
FILIPPO  LIPPI 


ALL   THE    ABOVE    NAMED    ISSUES 
ARE    CONSTANTLY    KEPT    IN    STOCK 

Prices  on  and  after  January  i,  1906  :  Single  numhers  ot 
back  volumes,  20  cents  each.  Single  numbers  of  the  current  lycfi 
volume,!  Jcents  each.  Boundvolumes  1,2,  3,4,  ;,  and6. contain- 
ing the  parts  listed  above,  bound  in  brown  buckram,  with  gilt 
stamps  and  gilt  top,  $3.75  each;  in  green  half-morocco,  gilt 
stamps  and  gilt  top,  $4.2;  each. 


The  Temple 

at 

Paestum 

T* 

'--pHIS     FACSIMILE     REPRODUC- 
X    TION  of  the  water-color  by  Hubert 
G.  Ripley  was  made  for  a  special  feature  of 
The  Anbitectural  Revirzv.    It  is  jj^xgS/^, 
and  will  be  appreciated  by  every  one  interested 
in  Greek  architecture.    We  had  one  hundred 
extra  reproductions  made  and  offer  tbem   to 
Masters  in  Art  subscribers  for  50  cents  each, 
post-paid.     The  above  illustration    gives   no 
idea  of  the  fine  color  effect  of  the  print,  which 
the  artist  has  approved  as  being  a  perfect  re- 
production of  the  original  painting.     We  can- 
not  too  strongly  recommend   our  readers  to 
secure  a  print  for  framing. 

BATES    &     GUILD    CO. 

Pu  b  li  s  h  e  r  s 
42  Chauncy  Street,  Boston,  Mass. 

'H 


^. 


I  Protect  yonr  ftirs  and  fine  cloth- 

linK    dnrini;   the   enrlv  Sprinfr  and  Summer 

I  fr,>M.  nioth8  and  inserts.    I'no  a  Piedmont 

K.-a  C.-«liir  Chest-  (Inst  and  moth  proof. 

A  l)eaii(if«il   ■^eddimr  «ir  Kntlj- 

■lav  present.       Shin-.a    fvoi.i   fnetorv  to 
,  vo^iThomo  on  „,,prov»l.fv..i.ht  ,.r.  paul.  V^nte 

'  ''^'p?rmn.NT  'Fv'irNl'TrRF.   CO  ,  Dept.  *, 
StiitesviHo    N.  r. 


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M ASTE  RS    IN    ART 


Special  Notice 
To  Readers  of  Masters  in  Art 


AFTER  long  experimenting  we  have  perfected  a  process  for  making  large  size  re- 
productions of  paintings,  possessing  all  the  qualities  of  the  finest  carbon  photo- 
graphs. We  desire  to  introduce  this  process  by  reproducing  at  large  scale,  suitable  for 
framing,  ten  of  the  greatest  masterpieces  of  painting.  Of  the  process  we  now  have 
complete  command,  but  the  selection  of  subjects  is  a  difficult  problem.  We  have, 
therefore,  decided  to  ask  our  readers  to  help  us,  by  sending  a  list  of  what,  to  their  minds, 
are  the  ten  greatest  paintings.  From  several  thousand  lists  made  out  by  intelligent  stu- 
dents of  art  it  should  not  be  difficult  to  select  the  ten  pictures  which,  from  consensus 
of  opinion,  are  the  greatest.  To  add  to  the  interest  in  making  such  selection,  we  have 
decided  to  present  sets  of  the  pictures  to  the  one  hundred  readers  whose  judgment  has 
been  the  best,  and  whose  lists  come  the  nearest  to  the  final  selection.  Please  fill  out 
the  blank  form  below,  not  forgetting  your  name  and  address,  and  mail  at  your  very 
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42    CHAUNCY   ST.,  BOSTON,  MASS. 


•Cut  out  and  mail   to   us   with   vour   selection 


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l^STEBS  IN  AHT     PLATE  I 

PHOTOGRAPH    BY  ALINARl 

[  3;t9  ] 


335759 


UHIRI.AXDAJO 

CHOKISTK_KS    [l)KTAII>  FKOM   'DEATH  OK  SANTA   FINA  ' 

CATUKDKAL,   SAN   GIMIONANO 


.lASTERB   IX    AKT      VLATF,   IV 


filllKLANIIAJO 

FliOKKNTINK    r.ADY    [jJKTAIL   KHO.M    •  KIHTII    OF   ST.   JOHN'] 

CHUHCII    OK    SAXTA    .MAKIA    XOVKLLA,    KI.OKKNOK 


TEKS   IN    AKT      PLATE  V 

fMOTOGBAPM   BV  ANDERSON 

ta47] 


GIIIKI.AXDA.IO 

ADOKATION    OF  THE  KINtiS 

CHUKCH  OF  TUE  INNOCENTI,  FLOHENCE 


STEKS  IN  AKT     PLATE  VI 

lOTOGRAPH    BY  BRAUN,  CLEMENT   A  CtE 
[349  ] 


GIlllil.AXDAJO 

POKTKAIT  OF  AN   OLU  MAN   AND  HIS  GKANDSON 

LOUYHE,   PAHIS 


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MASTEKS    IN    AKT      IT.ATK    VIII 

PHOTOGRAI""    BY  8RAUN,    CLFMENT    4  CI6 


GHIltl-AXnAJO 
THK  VISITATION 
LOUVRi:,  PARIS 


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I'OHTHAIT   OK   CIIIHI.ANDA.K)    IIV    Ill.MSFILiF 
CHl'ltCH   OK  SAXTA    MAHIA    JCOVKLJjA,   KI,OKKNCE 

Ghirlandajo  introduced  the  portrait  of  himself  into  many  of  his  pictures.  The  one 
here  reproduced  is  taken  from  the  'Expulsion  of  St.  Joachim  from  the  Temple," 
where  he  is  shown  as  one  of  the  four  men  standing  near  the  window  watching  the 
scene.  He  is  clad  in  a  red  mantle  with  a  blue  vestment  beneath,  his  face  is  clean- 
shaven, and  Ills  bushv  hair  worn  in  the  fashion  of  the  dav.  Cracked  and  damaged 
by  time,  the  painting  still  shows  the  large  dark  eyes,  the  full,  firm  mouth,  and  the 
rather  heavy  nose  of  the  Florentine  painter. 

[.1.-,.] 


II 


MASTERS     IN     ART 


SDomcnico  Di  Commaiso  tii  Curratio  ^igortii 


CALLED 


^fttrlantraio 


BORN    l-i-tO:     DIED    14  9  4 
FLORENTINE     SCHOOL 


LIKE  SO  many  of  the  famous  artists  of  the  Renaissance,  Domenico  di  Tom- 
^  maso  di  Currado  Bigordi  is  best  known  to  posterity  by  a  sobriquet.  Ex- 
actly why  he  was  called  Ghirlandajo  (pronounced  Gheer-lan-dye-yo)  has  been 
the  subject  of  considerable  controversy.  Vasari  states  that  Domenico  was  ap- 
orenticed  to  his  father,  who  was  a  goldsmith,  and  that  this  father,  "Tommaso, 
was  the  first  who  invented  and  made  those  ornaments  worn  on  the  head  by 
the  young  girls  of  Florence  and  called  garlands  (gbirlande),  whence  Tommaso 
acquired  the  name  of  Ghirlandajo."  Though  the  truth  or  error  of  this  state- 
ment is  not  a  matter  of  great  importance,  it  is  perhaps  worth  noticing  that  in  it 
Vasari  has  undoubtedly  made  one  and  probably  two  mistakes.  To  begin  with, 
it  is  an  ascertained  fact  that  the  young  women  of  Florence  wore  these  gold  and 
silver  wreaths  long  before  this  date.  Secondly,  Signor  Milanesi  found  a  docu- 
ment in  the  Florentine  archives  signed  by  Domenico's  father  in  which  he  calls 
himself  a  silk-broker  instead  of  a  goldsmith.  He  says,  however,  in  this  same 
paper,  that  his  two  sons,  David  and  Domenico,  are  working  with  a  jeweler  and 
goldsmitl^  It  seems  probable,  then,  that  it  was  w^iile  he  was  in  this  man's 
workshop  that  the  future  painter  of  fresco  learned  to  make  the  beautiful  gar- 
lands which  earned  him  the  name  by  which  he  was  thenceforth  known. 

Ghirlandajo  was  born  in  1449,  two  years  after  the  birth  of  Botticelli,  only 
three  years  before  that  of  Leonardo  da  Vinci.  Both  of  these,  as  well  as  Man- 
tecrna,  Sijrnorelli,  and  Perueino,  who  were  all  older  than  he,  outlived  him  by  a 
number  of  years,  some  of  them  workmg  well  into  the  first  quarter  of  the  six- 
teenth century,  while  Ghirlandajo  died  six  years  before  its  opening.  The 
period  of  his  greatest  activity,  therefore,  lies  in  what  may  be  termed  the  early 
middle  part  of  the  Renaissance.  The  freshness,  the  spontaneity,  and  the  in- 
genuousness of  the  Primitives  had  not  yet  been  displaced  by  the  knowledge,  the 
science,  the  surety,  and  the  opulence  of  the  men  of  the  later  Golden  Age. 

[359] 


24  MASTERS    IN    ART 

There  is  some  doubt  whether  Cosimo  Rosselli  or  Alesso  Baldovinetti  was 
Ghirlandajo's  first  teacher.  Whichever  it  may  have  been,  while  he  was  still 
apprenticed  to  the  goldsmith,  so  \'asari  tells  us,  he  was  perpetually  drawing, 
obtaining  "extraordinary  facility  in  design  by  continual  practice,  and  was  so 
quick  as  well  as  clever,  that  he  is  said  to  have  drawn  the  likenesses  of  all  who 
passed  by  his  workshop,  producing  the  most  accurate  resemblance."  Un- 
doubtedly the  training  acquired  in  the  careful,  delicate  manipulation  of  the 
goldsmith's  tools  stood  him  in  good  stead  throughout  his  career  as  painter. 
The  jeweler's  workshop,  indeed,  was  the  preliminary  school  for  many  of  the 
great  artists  of  the  Renaissance.  Ghiberti,  Brunelleschi,  Verrocchio,  Luca 
della  Robbia,  Orcagna,  Andrea  del  Sarto,  Cellini,  Antonio  del  PoUajuolo,  and 
Botticelli  all  began  as  goldsmiths. 

Little  is  known  of  Ghirlandajo's  youth.  In  1475,  when  he  was  twenty-six 
years  old,  he  painted  certain  frescos  in  the  Vatican  library  at  Rome.  One  of 
these  is  evidently  the  small  fragment  called  '  The  Doctors  of  the  Church '  which 
was  found  comparatively  lately  by  Herr  Schmarsow.  Recently  discovered 
documents  also  prove  that  he  executed  for  Francesco  Tornabuoni  a  fresco  over 
the  tomb  of  his  wife  in  Santa  Maria  Minerva  in  Rome.  It  is  evident  that  he 
must  already  have  achieved  considerable  reputation  in  Florence  or  he  could 
not  have  been  commanded  to  join  that  band  of  famous  men  beginning  to  turn 
the  palace  of  the  pope  into  the  marvelous  museum  of  art  it  aftenvard  became. 
Vasari  states  that  his  frescos  for  the  Vespucci  family  in  the  church  of  Ognis- 
santi  in  Florence  were  his  first  pictures.  They  must  then  have  been  executed 
before  his  Roman  journey  in  1475.  As  early  as  16 16  these  frescos,  the  'De- 
scent from  the  Cross'  w^ith  the  'Misericordia'  over  it,  were  covered  with  white- 
wash. Vasari's  claim  that  one  of  the  kneeling  suppliants  about  the  Virgin  was 
a  portrait  of  Amerigo  Vespucci  went  uncontested  till  1898,  when,  the  white- 
wash finally  removed,  the  work  was  once  more  brought  to  light.  Since  then 
critics  have  accepted  his  attribution  only  provisionally,  and  Herr  Brockhaus 
in  a  recent  monograph  has  asserted  with  excellent,  and  apparently  uncontro- 
vertible, proof,  that  though  the  penitents  kneeling  on  each  side  of  the  Madonna 
are  undoubtedly  members  of  the  Vespucci  family,  Amerigo  himself  is  not  one 
of  them. 

M.  Miintz  and  other  modern  critics  are  inclined  to  place  these  paintings  in 
the  Vespucci  Chapel  as  late  as  1480,  while  on  the  other  hand  they  believe  that 
it  was  before  1475  ^^^^  Ghirlandajo  finished  the  frescos  in  the  chapel  of  Santa 
Fina  in  the  collegiate  church  (the  cathedral)  of  San  Gimignano.  And,  indeed, 
the  fame  brought  by  these  charming  scenes  may  well  have  been  the  cause  of 
his  fiist  invitation  to  Rome. 

On  this  trip  Cihirlandajo  took  as  assistant  his  brother  David,  who,  like  the 
more  famous  Domenico,  was  also  at  first  a  goldsmith.  In  fact,  from  the  very 
beginning  of  his  career  as  artist  Ghirlandajo  seems  to  have  worked  in  com- 
pan\',  first  with  David,  and  later  with  both  him  and  Sebastiano  MainardI,  the 
latter  a  painter  of  San  Gimignano,  who  afterwards  married  Ghirlandajo's 
sister.  This  confraternity  style  of  working  has  often  made  it  difficult  to  sepa- 
rate Domenico's  part  of  the  resulting  achievements  from  that  of  the  others. 

[360] 


GHIRLAND  AJO  25 

After  his  return  from  Rome,  in  1476,  Domenico,  David,  and  Sebastiano 
painted  a  'Last  Supper'  in  a  Vallombrosan  monastery  at  Passignano.  No 
trace  of  this  painting  exists  to-day.  This  brotherhood  was  the  richest  in  all 
Tuscany,  but  according  to  Vasari's  amusing  story  the  painters  might  have 
fared  better  with  the  poorest.  Domenico's  two  assistants  reached  the  abbey 
first,  where  they  were  so  badly  fed  and  lodged  that  finally  they  complained  to 
the  abbot,  asking  for  better  treatment.  This  the  abbot  readily  agreed  to,  but 
after  Domenico  arrived  things  were  no  better.  Again  David  went  to  the  abbot, 
apologizing  for  his  insistence,  but  saying  that  he  did  it  entirely  on  account  of 
his  brother,  "whose  merits  and  abilities  deserved  consideration."  Once  more 
they  sat  down  to  supper  to  find  that  all  David's  pleas  had  been  entirely  dis- 
regarded— there  was  nothing  fit  to  eat.  "Wherefore,"  says  the  Florentine 
biographer,  "David  rose  in  a  rage,  threw  the  soup  over  the  friar,  and  seizing 
the  great  loaf  from  the  board  he  fell  upon  him  therewith,  and  belabored  him 
in  such  a  fashion  that  he  was  carried  to  his  cell  more  dead  than  alive.  The 
abbot,  who  had  already  gone  to  bed,  arose  on  hearing  the  clamor,  believing 
the  monastery  to  be  falling  down,  and  finding  the  monk  in  a  bad  condition, 
began  to  reproach  David.  But  the  latter  replied  in  a  fury,  bidding  him  begone 
from  his  sight,  and  declaring  the  talents  of  Domenico  to  be  worth  more  than 
all  the  hogs  of  abbots  of  his  sort  that  had  ever  inhabited  the  monastery.  The 
abbot  being  thus  brought  to  his  senses,  did  his  best  from  that  moment  to  treat 
them  like  honorable  men  as  they  were." 

Domenico  was  far  from  having  the  poetic,  dreamy  nature  whose  practical 
needs  must  always  be  guarded  and  supplied  by  others.  But  he  hated  anything 
that  interfered  with  his  own  work,  and  Vasari  says  that  he  gave  the  entire 
charge  of  expenditures  and  household  matters  to  David,  telling  him  to  "leave 
me  to  work,  and  do  thou  provide,  for  now  that  I  have  begun  to  get  into  the 
spirit  and  comprehend  the  matter  of  this  art,  I  grudge  that  they  do  not  com- 
mission me  to  paint  the  whole  circuit  of  all  the  walls  of  Florence  with  stories." 
And  it  is  evident  that  throughout  Ghirlandajo's  life  David  gladly  relieved  his 
brother  from  every  possible  mundane  care. 

Soon  after  his  return  from  Rome  Ghirlandajo  married  a  girl  of  nineteen, 
named  Costanza.  As  he  continued  to  live  at  home  with  his  father,  it  seems 
probable  that  he  was  not  yet  in  possession  of  any  considerable  or  settled  income. 

In  1480  he  painted  a  'Last  Supper'  in  the  convent  of  Ognissanti  and  a  'St. 
Jerome'  in  the  church  itself,  where  they  can  be  seen  to-day.  Somewhat  later 
he  practically  duplicated  the  former  picture,  on  a  somewhat  smaller  scale,  in  the 
refectory  of  St.  Mark.  During  the  year  following  he  was  commissioned  to  ex- 
ecute a  fresco  in  the  Palazzo  Vecchio,  where  Botticelli,  Perugino,  and  Filippino 
Lippi  had  also  been  engaged  to  help  decorate  the  same  hall.  Apparently 
Ghirlandajo's  'Triumph  of  St.  Zenobius,'  which  is  in  the  Sala  dei  Gigli,  was 
the  only  fresco  actually  accomplished.  Before  he  finished  this,  however,  he 
was  called  to  Rome  by  Sixtus  iv.  There,  in  company  with  Rosselli,  Botticelli, 
and  Perugino,  he  helped  decorate  the  walls  of  the  Sistine  Chapel.  Of  the  two 
frescos  which  he  painted,  'The  Resurrection'  and  'The  Calling  of  Peter  and 
Andrew'  (plate  x),  only  the  latter  remains  to-day. 

[301] 


26  MASTERS     IN     ART 

Ghirlandajo's  success  in  the  papal  city  must  have  added  greatly  to  his  repu- 
tation, and  from  now  on  the  list  of  his  works  in  his  native  city  grows  rapidly 
larger.  By  1485  he  had  finished  one  of  his  most  important  orders  —  the  deco- 
ration of  the  Sassetti  Chapel  in  Santa  Trinita  with  six  frescos  representing 
scenes  from  the  life  of  St.  Francis.  The  altar-piece  was  a  picture  of  the  'Na- 
tivity,' now  in  the  Academy  at  Florence,  on  one  side  of  which  was  painted  the 
kneeling  figure  of  Francesco  Sassetti  himself,  the  wealthy  and  influential 
banker,  on  the  other,  that  of  his  wife,  Nera.  Though  some  of  these  frescos 
show  Ghirlandajo's  talent  almost  at  its  highest  expression,  portions  are  so  in- 
ferior that  it  is  evident  that  he  must  have  confided  a  considerable  part  of  their 
execution  to  pupils  and  assistants. 

No  sooner  was  this  series  finished  than  he  accepted  Giovanni  Tornabuoni's 
commission  to  decorate  the  walls  of  the  choir  of  Santa  Maria  Novella.  This 
had  originally  been  painted  by  Orcagna,  but  rain  and  dampness  had  largely 
ruined  the  early  frescos.  Although  the  chapel  belonged  to  the  Ricci  family, 
Giovanni  Tornabuoni  persuaded  them  to  let  him  have  the  honor  of  restoring 
it,  promising  in  a  signed  contract  that  their  arms  should  be  "emblazoned  on 
the  most  conspicuous  and  most  honorable  place  to  be  found  in  the  chapel." 
Ghirlandajo  was  to  use  Orcagna's  subjects,  scenes  from  the  lives  of  the  Ma- 
donna and  St.  John,  and  he  was  to  receive  for  his  work  1 100  gold  ducats.  If, 
however,  the  frescos  greatly  pleased  him,  Giovanni  agreed  to  give  200  dufats 
more.  The  work  took  Ghirlandajo  the  larger  part  of  four  years,  being  fin- 
ished in  1490.  It  was  while  he  was  painting  here  that  Michelangelo  entered 
his  bottega  as  a  pupil,  and  it  is  said  that  some  of  the  youths  in  the  panel  rep- 
resenting the  appearance  of  the  angel  to  Zacharias  (plate  ill)  are  by  his  hand. 
When  the  decorations  were  completed  Giovanni  acknowledged  them  well 
worth  the  extra  200  ducats,  but  he  begged  the  painter  not  to  press  him  for  that 
sum.  "Ghirlandajo,"  applauds  Vasari,  "who  valued  glory  and  honor  much 
more  than  riches,  immediately  remitted  all  the  remainder,  declaring  that  he 
had  it  much  more  at  heart  to  give  Giovanni  satisfaction  than  to  secure  the  ad- 
ditional payment  for  himself."  Meanwhile  Giovanni's  promise  to  the  Ricci 
family  was  even  more  questionably  kept.  The  arms  of  the  Tornabuoni,  the 
Tornaquinci,  and  various  branches  of  the  two  families  were  cut  in  stone  and 
placed  most  prominently  on  the  pilasters  and  lunette  at  the  entrance  to  the 
chapel.  To  the  disgust  of  the  Ricci,  theirs  was  put  on  a  shield  in  the  pediment 
of  the  tabernacle  built  to  hold  the  sacrament  at  the  altar.  So  small  and  un- 
obtrusive were  these  arms  of  the  owners  of  the  chapel  that  no  ordinary  ob- 
server would  notice  them  at  all.  To  the  complaints  of  the  Ricci  the  Torna- 
buoni declared  that  as  the  arms  wtre  on  the  receptacle  of  the  Holy  Sacrament 
itself  they  ought  to  be  satisfied.  The  magistrates  ruled  the  same,  and  they  are 
still  there,  showing,  moralizes  Vasari,  how"  poverty  becomes  the  prey  of  riches, 
and  how  riches  when  accompanied  by  prudence  may  attain  without  censure 
to  the  end  desired  by  those  who  possess  them." 

So  greatly  delighted  were  the  Tornabuoni  with  this  tremendous  cycle  of 
frescos  that  when  it  was  finished  they  straightway  employed  Ghirlandajo  to 
paint  the  chapel  of  their  villa  near  Fiesole.  This  work  no  longer  remains,  the 
whole  chapel  having  been  destroyed  by  floods  in  the  following  century. 

[362] 


GHIRLANDAJO  27 

During  the  four  years  that  the  painter  was  at  work  in  Santa  Maria  Novella 
he  executed  some  of  his  best-known  tempera  pictures.  The  'Coronation  at 
Narni'  and  the  round  'Adoration'  in  the  Uffizi,  the  portrait  of  Francesco 
Sassetti  with  his  son,  the  profile  portrait  of  Giovanna  Tornabuoni,  were  all 
begun  or  finished  before  1490,  and  in  1489  he  designed  the  mosaic  representing 
the  'Annunciation'  over  the  side  door  of  the  cathedral  of  Florence.  It  is  said 
that  the  master  was  always  greatly  pleased  to  work  in  mosaic,  claiming  that  in 
that  material  one  was  "painting  for  eternity."  The  'Visitation,'  now  at  the 
Louvre  (plate  viii),  and  the  large  picture  of 'Christ  in  Glory,' which  he  began 
for  a  convent  of  Volterra,  now  in  the  Municipio  in  that  city,  were  both  unfin- 
ished at  his  death.  Of  the  many  other  frescos  and  altar-pieces  which  Vasari 
mentions,  the  larger  number  have  disappeared. 

Early  in  1494  Ghirlandajo  was  stricken  with  what  was  probably  the  plague. 
Hearing  of  his  illness,  Giovanni  Tornabuoni  at  last  regretted  his  niggardly 
treatment  of  the  painter  three  years  earlier,  and  sent  him  100  ducats.  It  was 
too  late  to  do  any  good.  On  January  11,  1494,  Domenico  died,  not  yet  having 
reached  his  forty-fifth  birthday.  He  was  buried  in  Santa  Maria  Novella, 
where  his  own  works  make  his  most  beautiful  monument. 

Almost  all  of  his  paintings  which  time  has  left  for  our  inspection  were  exe- 
cuted within  the  last  ten  or  twelve  years  of  his  life.  The  prodigious  industry  of 
the  man  needs  no  other  confirmation.  Hewas  not  only  indefatigable,  but  he  was 
both  extraordinarily  rapid  and  extraordinarily  sure.  It  is  said  that  lie  never 
needed  rule  or  compass  even  in  paintmg  his  most  elaborate  architectural  sur- 
roundings, and  Vasari  notes  that  he  even  drew  the  Colosseum  by  eye,  "  placing 
a  figure  standing  upright  in  the  drawing,  by  measuring  which  the  proportions 
of  all  the  building  will  be  found;  this  was  tried  by  the  masters  after  Domen- 
ico's  death  and  found  to  be  rigidly  correct." 

As  a  man  Domenico  Ghirlandajo  seems  to  have  been  earnest,  honest,  in- 
dustrious, wholly  absorbed  in  his  work,  an  estimable  citizen,  a  kind-hearted, 
generous  brother,  friend,  and  husband.  His  first  wife,  Costanza,  died  in  1485; 
his  second,  who  was  a  widow,  Antonia  di  Ser  Paolo  of  San  Gimignano,  sur- 
vived him,  with  nine  children.  Ridolfo,  one  of  the  sons,  became  a  painter  of 
some  note  and  was  an  intimate  friend  of  Raphael. 


Ci)e  9lrt  of  #|)irlanliajo 

E.    H.   AND   E.  W.   BLASHFIELD    AND    A.  A.    HOPKINS,    EDITORS  'VASARI'S    LIVES' 

IN  the  trio  of  great  Florentine  painters  whose  works  filled  the  last  (juarter  of 
the  fifteenth  century  Ghirlandajo  is  less  original  than  Botticelli,  less  tender 
than  Filippino  Lippi,  but  more  powerful  than  either  of  them,  and  far  more 
direct.  The  note  which  he  strikes  is  less  thrilling,  but  deeper;  the  types  he 
presents  are  less  fascinating,  but  more  human.  The  Florentine  citizen,  stand- 
ing grave  and  dignified  in  his  long  gown,  the  Florentine  woman,  at  once  simple 
and  stately  in  her  stiff  brocades  or  flowing  mantle,  are  what  he  loved  best  to 

[:H53] 


28  MASTERSINART 

paint  in  all  nature.  He  was  a  portrait-painter  by  instinct;  it  was  as  natural  to 
him  to  make  his  painted  personage  like  the  model  as  it  was  to  Sandro  to  see 
that  model  through  the  medium  of  his  own  artistic  personality.  In  Ghirlan- 
dajo's  work  there  is  none  of  the  mannerism  of  Botticelli,  only  a  trace  of  the 
classicism  of  Filippino,  and  not  a  sign  of  the  exaggerated  movement  of  Signo- 
relli.  Domenico's  figures  do  not  mince  or  swagger;  they  take  the  poses  of 
well-bred  people  sitting  for  their  portraits,  and  stand  naturally  and  quietly  on 
either  side  of  his  compositions  looking  out  at  the  spectator  or  at  each  other,  not 
paying  much  attention  to  the  drama  or  the  miracle,  in  which  Ghirlandajo  him- 
self takes  but  little  interest.  Costume  and  background  are  treated  in  the  same 
sober  spirit.  Goldsmith  as  he  was,  he  did  not  fill  his  pictures  with  dainty  de- 
tails like  Botticelli,  who  devised  strange  settings  for  jewels  and  patterns  for 
brocades  and  curiously  intricate  headgear;  with  Ghirlandajo  costume  and 
background  are  accessories,  and  are  subordinated  to  the  general  effect.  He 
does  not  lack  invention,  and  can  introduce  charming  episodes  when  he  pleases, 
like  the  graceful  girls,  real  Renaissance  Cancphora>,  who  pour  water  or  carry 
baskets  of  fruit  in  the  choir  frescos,  or  the  group  of  grave,  sweet  boy  choris- 
ters in  the  Santa  Fina  series  at  San  Gimignano.  But  often  the  ideal  figures  are 
the  weakest  point  in  his  pictures,  just  as  the  contemporary  Florentines,  stand- 
ing with  hand  on  hip  or  folded  arms,  are  apt  to  form  the  strongest  portion  of 
the  composition.  His  drawing  is  very  firm  and  frank,  and  he  was  the  best  all- 
round  draftsman  that  had  appeared  up  to  his  time;  the  color  in  his  frescos 
tends  to  bricky  reds  and  ochres,  in  his  tempera  to  strong  and  brilliant  tones, 
which  are  occasionally  even  gaudy.  Woltmann  and  Woermann  say  well  that 
in  his  school  he  represents  the  highest  development  of  realism,  "a  realism  kept 
in  check  by  dignity  of  style."  This  robust  naturalism  is  the  complement  in 
Tuscan  art  of  Botticelli's  subtle  and  somewhat  morbid  idealism.  Where  San- 
dro or  Filippino  are  subtle,  ardent,  introspective,  seeing  human  nature  through 
their  own  artistic  temperaments,  Ghirlandajo,  a  true  painter, shows  his  subtlety 
in  characterization,  in  differentiation  of  feature,  in  seizing  the  personality  of 
each  model,  in  sympathetic  comprehension  of  widely  differing  types  of  men. 
He  occupies  himself,  like  Masaccio,  with  the  external  appearance  of  things, 
and,  like  Masaccio,  orders  his  groups  simply  in  balanced  masses,  sacrificing 
the  episode  to  the  general  effect,  and  his  grave  and  virile  style  becomes  the  link 
between  Masaccio  in  the  beginning  and  Raphael  at  the  culmination  of  the  art 
of  painting.  To  the  student  of  the  Renaissance,  of  Florentine  history,  or  of 
the  "human  document,"  Ghirlandajo's  portraits  of  the  contemporaries  of  the 
magnificent  Lorenzo  and  of  Savonarola  are  invaluable;  the  old  town  still  lives 
in  these  frescos,  and  though  the  master  was  not  given  "the  walls  of  Florence 
to  paint,"  as  he  desired,  he  portrayed  the  world  within  those  walls. 

CROWE     AND    CAVALCASELLE  'HISTORY    OF    PAINTING' 

DOMENICO  GHIRLANDAJO  was  a  painter  whose  energy  and  creative 
power  contemned  the  mere  practice  of  painting  altar-pieces,  and  whose 
grasp  of  the  essential  qualities  of  art  enabled  him  to  conceive  and  carry  out 
greater  creations.    Unecjual  to  Masaccio  or  even  to  Fra  Filippo  in  the  power 

[364] 


GH  IRLA  N  D  A  J  O  29 

of  charming  by  brightness  or  richness  of  tone,  he  first  claimed  attention  by  his 
intelhgence  of  grand  and  decorous  laws  of  composition.  M4is  strongly  tem- 
pered mind,  braced  with  a  nerve  equal  to  that  of  Michelangelo,  was  above  the 
artifices  of  color,  which  he  doubtless  considered  second  to  the  science  of  dis- 
tribution and  of  form,  and  calculated  to  fetter  his  inclination  for  expressing  on 
large  surfaces  and  with  great  speed  the  grand  conceptions  of  his  genius.  In 
these  conceptions,  fruits  of  long  study  and  careful  thought,  he  aimed  at  em- 
bodying all  the  essential  elements  conducive  to  a  perfect  unity.  That  unity  he 
found  in  Giotto,  and  strove  with  such  success  to  emulate  that  he  may  be  said 
to  have  completed  the  body  of  the  edifice  whose  first  stone  had  been  laid  almost 
two  centuries  before  by  that  successful  artist.  Yet  he  might  have  struggled  to 
the  goal  in  vain  had  he  not  taken  for  a  guide  in  his  pictorial  manhood  the  works 
of  one  who  had  given  proof,  during  a  career  too  short  for  his  contemporaries 
but  long  enough  for  his  fame,  that  he  possessed  the  noblest  faculties.  Ghir- 
landajo  studied  attentively  and  fruitfully  the  masterpieces  of  Masaccio  at 
the  Carmine,  taking  from  them  the  grand  qualities  of  decorum,  dignity,  and 
truth.  .  .  .  He  gathered  and  harvested  for  subordinate  use  the  experience 
of  architects,  of  students  of  perspective,  of  form,  of  proportion,  and  of  light 
and  shade,  and  learned  to  apply  the  laws  of  chiaroscuro  to  the  human  frame 
and  to  the  still  life  that  surrounds  it.  Without  adding  anything  specially  to  the 
total  amount  of  experience  acquired  by  the  efforts  of  successive  searchers, 
he  garnered  the  whole  of  it  within  himself  and  combined  it  in  support  and 
illustration  of  the  great  maxims  which  he  had  already  treasured  up,  and  he 
thus  conduced  to  the  perfection  of  the  masculine  art  of  Florence,  which  cul- 
minated at  last  in  the  joint  energy  and  genius  of  hirnself,  Fra  Bartolommeo, 
Raphael,  and  Michelangelo. 

The  same  breadth  of  spirit  and  greatness  of  aim  which  led  Ghirlandajo  to 
prefer  dealing  with  large  spaces  to  painting  altar-pieces  induced  him  to  neglect 
the  innovations  which  had  already  been  carried  out  by  the  Peselli,  Baldo- 
vinetti,  the  PoUajuoli,  and  Verrocchio.  He  therefore  remained  true  to  the  old 
system  of  tempera  practised  in  his  time,  following  with  unwavering  fidelity  a 
method  which  may  be  described  as  resembling  that  of  Benozzo  Gozzoli 
mingled  with  that  of  Fra  Filippo,  but  carried  out  in  obedience  to  the  peculiar 
bent  of  his  mind  and  with  a  stamp  of  original  character.  The  new  method  in- 
troduced bv  the  innovators,  perfected  later  by  Fra  Bartolommeo,  Leonardo, 
and  Andrea  del  Sarto,  thus  owed  nothing  to  Ghirlandajo,  who  contributed  in 
no  way  to  the  development  of  that  division  in  the  Florentine  school  whose 
chief  as  regards  technique  was  Leonardo  da  Vinci.  Yet  it  would  be  an  error 
to  assume  that  Domenico  was  untaught  in  the  methods  of  this  class  of  men. 
We  may  presume,  indeed,  that  the  practice  of  the  various  atrlters  was  generally 
known  to  all  the  men  who  followed  the  profession  of  a  painter,  and  to  Ghir- 
landajo amongst  the  rest;  but  that  he  considered  that  of  tempera  subject  to 
less  serious  inconvenience  than  any  other,  and  capable  of  \ielding  fairer  re- 
sults than  a  new  system  promising  much  for  the  future  perhaps,  but  still  sur- 
rounded with  difficulties  and  disadvantages  of  no  ordinary  kind. 

[365] 


30  MASTERSINART 

TO  the  agitation  of  Botticelli,  to  his  delicacy,  which  too  easily  degenerated 
into  silliness,  the  Florentine  school  can  oppose  the  seriousness  and  the 
firmness  of  Ghirlandajo,  talent  as  virile  and  robust  as  that  of  his  rival  was 
tender  and  effeminate.  The  one  replaced  imagination  by  excess  of  sentiment; 
the  other  joined  to  a  clear  mind  a  sustained  inspiration;  the  one,  outliving  him- 
self, as  it  were,  repeats  indefinitely  the  same  formulae;  the  other,  after  rising 
from  height  to  height,  is  taken  away  in  the  very  bloom  of  his  years,  before  he 
has  begun  to  reach  the  limit  of  his  capabilities.  —  eugene  muntz 

JOHNADDINGTONSYMONDS  'RENAISSANCEINITALY' 

IT  is  almost  with  reluctance  that  a  critic  feels  obliged  to  name  Ghirlandajo, 
this  powerful  but  prosaic  painter,  as  the  Giotto  of  the  fifteenth  century  in 
Florence,  the  tutelary  angel  of  an  age  inaugurated  by  Masaccio.  He  was  a 
consummate  master  of  the  science  collected  by  his  predecessors.  No  one  sur- 
passed him  in  the  use  of  fresco.  His  orderly  composition,  in  the  distribution 
of  figures  and  the  use  of  architectural  accessories,  is  worthy  of  all  praise;  his 
portraiture  is  dignified  and  powerful;  his  choice  of  form  and  treatment  of 
drapery  noble.  Yet  we  cannot  help  noting  his  deficiency  in  the  finer  sense  of 
beauty,  the  absence  of  poetic  inspiration  or  feeling  in  his  work,  the  common- 
placeness  of  his  color,  and  his  wearisome  reiteration  of  calculated  effects.  He 
never  arrests  attention  by  sallies  of  originality,  or  charms  us  by  the  delicacies 
of  suggestive  fancy.  He  is  always  at  the  level  of  his  own  achievement,  so  that 
in  the  end  we  are  as  tired  with  able  Ghirlandajo  as  the  men  of  Athens  with  just 
Aristides.  Who,  however,  but  Ghirlandajo  could  have  composed  the  frescos 
of  Santa  Fina  at  San  Gimignano,  the  fresco  of  the  'Death  of  St.  Francis'  in 
Santa  Trinita  at  Florence,  or  that  again  of  the  '  Birth  of  the  Virgin'  in  Santa 
Maria  Novella  ?  There  is  something  irritating  in  pure  common  sense  imported 
into  art,  and  Ghirlandajo's  masterpieces  are  the  apotheosis  of  that  quality. 
How  correct,  how  judicious,  how  sagacious,  how  mathematically  ordered! 
we  exclaim;  but  we  gaze  without  emotion,  and  we  turn  away  without  regret. 
It  does  not  vex  us  to  read  how  Ghirlandajo  used  to  scold  his  prentices  for  neg- 
lecting trivial  orders  that  would  fill  his  purse  with  money.  Similar  traits  of 
character  pain  us  with  a  sense  of  impropriety  in  Perugino.  They  harmonize 
with  all  we  feel  about  the  work  of  Ghirlandajo.  It  is  bitter  mortification  to 
know  that  Michelangelo  never  found  space  or  time  sufficient  for  his  vast  de- 
signs in  sculpture.  It  is  a  positive  relief  to  think  that  Ghirlandajo  sighed  in 
vain  to  have  the  circuit  of  the  walls  of  Florence  given  him  to  paint.  How  he 
would  have  covered  them  with  compositions,  stately,  flowing,  easy,  sober,  and 
incapable  of  stirring  any  feeling  in  the  soul! 

Though  Ghirlandajo  lacked  almost  every  other  true  poetic  quality,  he  com- 
bined the  art  of  distributing  figures  in  a  given  space,  with  perspective,  fair 
knowledge  of  the  nude,  and  truth  to  nature,  in  greater  perfection  than  any 
other  single  painter  of  the  age  he  represents;  and  since  these  were  precisely  the 
gifts  of  that  age  to  the  great  Renaissance  masters,  we  accord  to  him  the  place 
of  historical  honor.  It  should  be  added  that,  like  almost  all  the  artists  of  this 
epoch,  he  handled  sacred  and  profane,  ancient  and  modern,  subjects  in  the 

[366] 


GH  IRLAND  AJO  31 

same  style,  introducing  contemporary  customs  and  costumes.  His  pictures 
are  therefore  valuable  for  their  portraits  and  their  illustration  of  Florentine 
lite.  Fresco  was  his  favorite  vehicle;  and  in  this  preference  he  showed  himself 
a  true  master  of  the  school  of  Florence;  but  he  is  said  to  have  maintained  that 
mosaic,  as  more  durable,  was  superior  to  wall-painting.  This  saying,  if  it  be 
authentic,  justifies  our  criticism  of  his  cold  achievement  as  a  painter. 

W.     M.     ROSSETTI  <  E  N  C  YC  LO  P  ^  D  I  A     BRITANNICA' 

IN  general  artistic  attainment  Ghirlandajo  may  fairly  be  regarded  as  ex- 
ceeding all  his  precursors  or  competitors,  though  the  names  of  a  few,  par- 
ticularly Giotto,  Masaccio,  Lippo  Lippi,  and  Botticelli,  stand  higher  for 
originating  power.  His  scheme  of  composition  is  grand  and  decorous;  his 
chiaroscuro  is  excellent;  and  especially  excellent  are  his  perspectives,  which  he 
would  design  on  a  very  elaborate  scale  by  the  eye  alone;  his  color  is  more  open 
to  criticism,  but  this  remark  applies  much  less  to  the  frescos  than  the  tempera 
pictures,  which  are  sometimes  too  broadly  and  crudely  bright.  He  worked  in 
these  two  methods  alone  —  never  in  oils;  and  his  frescos  are  what  the  Italians 
term  "buon  fresco,"  without  any  finishing  in  tempera.  A  certain  hardness  of 
outline,  not  unlike  the  character  of  bronze  sculpture,  may  attest  his  early 
training  in  metal  work.  He  first  introduced  into  Florentine  art  that  mixture  of 
the  sacred  and  the  profane  which  had  already  been  practised  in  Siena.  His 
types  in  figures  of  Christ,  the  Virgin,  and  angels  are  not  of  the  highest  order; 
and  a  defect  of  drawing,  which  has  been  often  pointed  out,  is  the  meagerness 
of  his  hands  and  feet.    .   .  . 


GHIRLANDAJO  is  essentially  the  painter  of  feminine  grace.  He  gives 
to  his  models  a  delicacy  which  is  not  without  strength;  he  bestows  upon 
them  an  alluring  lightness  of  movement.  The  women  of  Ghirlandajo  seem  to 
have  concealed  wings;  their  motions  have  a  compelling  cadence,  harmonious 
and  full.  —  PAUL  mantz 

F.T.     KUGLER  UTALIANSCHOOLSOFPAINTING' 

THE  portrait,  in  the  largest  signification  of  the  word,  is  the  prominent 
characteristic  in  the  productions  of  Ghirlandajo.  Thus,  above  all,  we 
find  the  motive  —  which  in  earlier  masters  appeared  more  the  result  ot  acci- 
dental observation  —  in  him  completely  and  consistently  followed  out.  He  in- 
troduced portraits  of  contemporaries  into  his  historical  representations,  thus 
raising  to  them  an  honorable  memorial;  not,  however,  portraying  them  as  the 
holy  personages  themselves,  as  was  the  practice  among  the  painters  of  the 
Netherlands  and  in  Germany.  Simple  and  tranquil,  in  the  costume  of  their 
time,  they  stand  by,  as  spectators,  or  rather  witnesses,  of  the  holy  incident  rep- 
resented, and  frequently  occupy  the  principal  places  in  the  picture.  1  hey  are 
generally  arranged  somewhat  symmetrically  in  detached  groups,  thus  giving  to 
the  whole  a  peculiarly  solemn  effect.    In  their  relation  to  the  actual  subject  of 

[367] 


32  MASTERS     IN    ART 

the  picture  they  may  be  compared  with  the  chorus  of  the  Greek  tragedy.  Ghir- 
landajo,  again,  usually  places  the  scene  of  the  sacred  event  in  the  domestic  and 
citizen  life  of  the  time,  and  introduces,  with  the  real  costume  of  the  spectators, 
the  architecture  of  Florence  in  the  richest  display  and  in  complete  perspective, 
without  degenerating  into  those  fantastic  combinations  which  we  find  in 
Benozzo  Gozzoli.  The  saints  also  retain  their  well-known  ideal  drapery,  not 
without  reminiscences  of  the  style  of  the  fourteenth  century.  A  third  element 
is,  moreover,  apparent  in  Ghirlandajo's  works,  derived  from  a  particular  study 
of  antique  motives  of  a  light  and  animated  kind,  and  especially  of  antique 
drapery.  This  study  is  to  be  traced  in  accessory  female  figures.'  In  the  execu- 
tion of  the  details  a  certain  degree  of  severity  is  still  observable,  especially  in 
the  outlines;  it  can  scarcely,  however,  be  called  a  defect.  The  forms  are  per- 
fectly well  imitated,  and  the  peculiarities  of  nature  successfully  caught.  In  the 
technical  management  of  fresco  Ghirlandajo  exhibits  an  unsurpassed  finish, 
and  worked  in  it  with  extraordinary  facility. 

BERNHARD    BERENSON  'THE    FLORENTINE    PAINTERS    OF    THE    RENAISSANCE' 

GHIRLANDAJO  was  born  to  far  more  science  and  cunning  in  painting 
than  was  current  in  Benozzo's  early  years,  and  all  that  industry,  all  that 
love  of  his  occupation,  all  that  talent  even,  can  do  for  a  man,  they  did  for  him; 
but  unfortunately  he  had  not  a  spark  of  genius.  He  appreciated  Masaccio's 
tactile  values,  PoUajuolo's  movement,  Verrocchio's  effects  of  light,  and  suc- 
ceeded in  so  sugaring  down  what  he  adopted  from  these  great  masters  that  the 
superior  philistine  of  Florence  could  say:  "There  now  is  a  man  who  knows  as 
much  as  any  of  the  great  men,  but  can  give  me  something  that  I  can  really  en- 
joy!" Bright  color,  pretty  faces,  good  likenesses,  and  the  obvious  everywhere 
—  attractive  and  delightful,  it  must  be  granted,  but,  except  in  certain  single 
figures,  never  significant. 

GEORGES    LAFENESTRE  'LA     PEINTURE    ITALIENNE' 

DOWERED  with  a  sane  and  robust  temperament,  with  a  clear  and  serious 
mind,  with  a  noble  and  well-poised  imagination,  Ghirlandajo,  "made 
by  nature  to  be  a  painter,"  carried  into  monumental  art  a  sustained  virility  of 
conception  and  a  resolute  grandeur  of  execution.  At  the  same  time  he  does 
not  rise  to  the  heights  occasionally  reached  by  Botticelli  and  Filippino,  natures 
more  passionate,  more  subtle,  more  tender,  though  with  minds  less  balanced, 
and  producing  results  of  less  even  excellence. 

To  his  early  training  in  the  goldsmith's  art,  which  taught  him  modeling, 
Ghirlandajo  owed,  perhaps,  his  sense  of  form.  An  indefatigable  draftsman, 
he  was  gifted  with  a  surety  of  eye  and  hand  that  astonished  his  contemporaries. 

As  a  youth  he  could  make  speaking  likenesses  of  the  people  whom  he 
merely  saw  passing  his  windows,  while  later  on,  for  the  elaborate  architecture 
of  his  compositions  with  all  the  complex  perspective  of  line  and  mass,  he  needed 
neither  rule  nor  compass.  He  had  as  keen  inventive  faculties  as  Benozzo 
Gozzoli,  and  knew  better  how  to  use  and  display  them.    The  amazing  fertility 

[368] 


GHIRLANDAJO  ^^ 

of  his  ideas  was  always  tempting  him  to  fill  his  pictures  ever  fuller  and  fuller 
with  heroic  figures  of  striking  lifelike  expression.  But  always,  too,  he  kept  them 
withm  compositional  bounds,  making  them  seem  to  take  a  natural  part  in  the 
principal  action  of  the  scene,  sometimes  as  actual  participants,  sometimes  as 
spectators,  without  ever  weakening  or  compromising  them  as  individuals. 
In  his  country  Ghirlandajo  closed  the  fifteenth  century  with  much  of  the  eclat 
with  which  Masaccio  opened  it.  He  stands  on  the  last  rung  of  the  ladder 
which  rises  from  Giotto  towards  the  great  geniuses  of  the  Renaissance,  only 
some  feet  below  Leonardo,  his  competitor,  and  Michelangelo,  his  pupil.— 

FROM  THE  FRENCH 


C|)e  Wox'kQ  of  #f)trlantia)o 

DESCRIPTIONS    OF    THE    PLATES 
'CHORISTERS'      [DETAIL    FROM     'DEATH     OF    SANTA    FINA']  PLATE    I 

ACCORDING  to  modern  authorities,  Ghirlandajo's  frescos  in  the  Chapel 
.  of  Santa  Fina  of  the  Collegiate  Church  (the  cathedraD  of  San  Gimignano, 
are  among  his  earliest  productions,  probably  being  painted  before  1475. 
Vasari  places  them  at  a  much  later  date,  but  both  he  and  the  critics  of  to-day 
agree  that  he  was  assisted  in  the  work  by  Sebastiano  Mainardi. 

Santa  Fina,  whose  'Vision'  and  '  Death '  are  the  subjects  of  the  frescos,  died 
at  the  age  of  fifteen,  the  victim  of  an  incurable  malady  which  had  racked  and 
tortured  her  little  frame  for  years.  On  the  day  when  her  body  was  carried  to 
the  grave  she  was  seen,  it  is  said,  to  raise  her  arm  as  if  blessing  her  nurse,  who 
from  that  time  was  cured  of  her  paralysis.  To  her  prayers,  so  the  townsfolk  of 
San  Gimignano  believed,  were  due  many  of  the  blessings  which  heaven  be- 
stowed upon  the  native  village  of  the  girlish  saint. 

Both  of  the  frescos  have  a  delicate  charm  that  Ghirlandajo  has  seldom  sur- 
passed, the  one  depicting  the  'Death  of  Santa  Fina'  being  considered  espe- 
cially lovely.  In  this  she  is  portrayed  lying  peacefully  as  if  she  were  onlv 
asleep,  while  her  dead  hand  is  raised  to  restore  to  vitality  the  paralyzed  arm 
of  her  old  nurse,  who  is  leaning  over  her.  One  small  boy  chorister  kisses  her 
feet,  and  an  angel  tolls  the  bell  that  sounds  the  death  of  the  gentle  girl.  The 
priest  who  is  reading  the  prayers,  the  acolytes  who  bear  the  heavy  cross  and 
candles,  the  boy  choristers,  —  all  are  portrayed  with  unfailing  accuracy  and 
truth,  and  with,  besides,  a  simple  pathos  that  makes  the  whole  scene  wonder- 
fully appealing.  Critics  have  especially  united  in  praising  the  group  of  choir- 
boys standing  with  the  bishop,  here  reproduced.  The  individuality  expressed 
in  the  youthful  faces,  the  charming  pose  of  heads  and  shoulders,  the  massing 
of  them  into  one  balanced  group,  —  all  are  splendidh'  worthy  of  the  pencil 
that  photographed,  as  almost  no  other,  the  citizens  of  the  Florence  of  the 
Renaissance. 

[369] 


34  MASTERS     IN    ART 

'BIRTHOFTHEVIRGIN'  PLATEIl 

GHIRLANDAjO'S  decorations  in  the  choir  of  Santa  Maria  Novella  of 
Florence  cover  the  ceiling  and  all  three  walls.  Parts  of  the  frescos  are 
badly  damaged  by  the  ravages  of  time,  but  rhey  still  deserve  to  be  called  his 
"masterpiece  and  one  of  the  important  and  remarkable  works  of  the  Renais- 
sance." 

The  ceiling  with  irs  four  colossal  figures  of  the  Evangelists,  the  wmdow  wall 
with  the  'Coronation  of  the  Virgin,'  the  'Annunciation,'  and  scenes  from  the 
lives  of  St.  Dominic,  St.  Peter  Martyr,  and  St.  John,  the  figures  of  the  patron 
saints  of  Florence,  and  those  of  Giovanni  Tornabuoni  and  his  wife,  —  these 
are  all  in  a  more  deplorable  condition  than  the  frescos  which  fill  the  two  side 
walls.  On  the  right  are  the  scenes  illustrating  the  life  of  he  Virgin;  on  the 
left,  those  depicting  incidents  from  the  life  of  John  the  Baptist. 

Each  set  is  composed  of  seven  pictures,  six  placed  two  by  two  in  three  tiers, 
surmounted  by  the  seventh,  which,  as  wide  at  the  base  as  the  two  immediately 
below,  curves  at  the  top  into  the  vaulting  of  the  ceilipg.  Both  series  therefore 
make  long,  rather  narrow  panels  with  arched  tops. 

The  story  of  Mary  begins  with  'Joachim's  Expulsion  from  the  Temple.' 
Next  to  this  comes  the  '  Birth  of  the  Virgin.'  Above  is  the  '  Presentation  in  the 
Temple,'  and  alongside  the  'Marriage  of  Mary.'  Over  these  are  the  'Adora- 
tion of  the  Magi'  and  the  'Massacre  of  the  Innocents,'  and  in  the  arched  divi- 
sion on  top  the  'Death  and  Assumption  of  the  Madonna.' 

'The  Birth  of  the  Virgin'  here  reproduced  is  considered  one  of  the  finest.  It 
shows  the  interior  of  a  room  of  stately  architecture  with  richly  carved  pilasters 
and  panels,  and  with  a  frieze  in  simulated  relief  of  charming  dancing-boys  of 
the  Delia  Robbia  type.  At  the  left,  on  the  upper  landing  of  a  short  flight  of 
stairs,  Joachim  and  Anna  are  seen  embracing — an  incident  considerably 
separated  in  time,  of  course,  from  the  main  story  told  in  the  fresco.  The  fig- 
ures keep  their  proper  perspective,  however,  and  therefore  do  not  detract  from 
the  unity  of  the  principal  theme  of  the  composition. 

At  the  right,  Anna,  the  mother  of  Mary,  in  the  Florentine  costume  of  Ghir- 
landajo's  day,  is  half  sitting,  half  lying  in  bed,  watching  the  group  of  three 
women  in  front  of  her,  who  are  intent  upon  the  new-born  infant.  The  child 
lies  in  the  lap  of  one,  while  another  kneels  beside  her,  and  the  third  is  pouring 
water  into  the  bowl  for  the  baby's  bath.  This  last  figure,  with  the  draperies 
flying  and  twisting  as  if  tossed  by  rampant  breezes,  is  one  of  Ghirlandajo's 
most  characteristic  creations.  Close  beside  women  standing  straight  and  still 
with  robes  falling  in  long  quiet  folds,  he  not  infrequently  introduces  a  maiden 
such  as  this,  whose  draperies  seem  fairly  alive,  vibrating  and  answering,  as  it 
were,  to  the  caresses  of  winds  which  they  alone  can  feel.  He  has  been  censured, 
probably  justly,  for  the  unreasonableness  as  well  as  the  triviality  of  such  ar- 
rangement. Nevertheless,  it  is  perhaps  not  too  much  to  claim  that  these  flying 
ends  of  skirts  and  veils  help  to  give  life  and  movement  to  the  whole  scene. 

Opposite  this  serving-maid  stands  a  gorgeously  dressed  young  Florentine 
woman,  said  to  be  the  sister  of  Lorenzo  Tornabuoni,  accompanied  by. four 
attendants,  all  of  whom  stand  gazing  in  calm  attention  at  the  scene  before 

them. 

[370] 


GH  IR  LAN  D  AJO  35 

'APPEARANCE  OF  THE  ANGEL  TO  ZACHARIAS'  PLATE  III 

THE  first  of  the  seven  scenes  illustrating  the  life  of  St.  John  on  the  wall  of 
the  choir  of  Santa  Maria  Novella  is  the  'Appearance  of  the  Angel  to 
Zacharias.'  Next  comes  the  'Visitation.'  Over  these  are  the  'Birth  of  St. 
John'  and  the  dumb  'Zacharias  writing  the  Name  of  his  Son.'  In  the  two 
scenes  of  the  tier  above  John  is  portrayed  preaching  to  the  multitude  and  bap- 
tizing Jesus,  and  the  feast  of  Herod  follows  in  the  seventh  lunette-shaped 
division. 

The  'Appearance  of  the  Angel  to  Zacharias'  (plate  ill)  illustrates  the  mo- 
ment when  the  father  of  the  future  Baptist  listens  unbelievingly  to  the  an- 
nouncement of  the  angel  that  at  last  heaven  is  about  to  bless  him  with  a  son. 
Ghirlandajo  here  shows  himself  in  his  customary  double  role  of  interpreter  of 
Biblical  and  contemporaneous  history. 

The  scene  is  represented  as  taking  place  in  a  temple  whose  lines  and  de:o- 
rations  are  all  of  the  richest  Renaissance  order  of  architecture.  Zacharias 
stands  before  an  altar  in  a  domed  chapel  at  the  back,  his  act  of  sacrifice  in- 
terrupted by  the  sudden  appearance  of  the  angelic  visitant,  who,  with  wind- 
swept draperies  and  extended  wings,  advances  rapidly  towards  him  from  the 
left.  Though  there  are  some  twenty-six  other  figures  in  the  picture,  these  two 
are  the  only  ones  that  have  any  actual  connection  with  the  sacred  scene  which 
gives  the  title  to  the  panel. 

All  the  rest  of  those  young,  middle-aged,  and  elderly  men  grouped  on  both 
sides  so  sedately,  yet  each  figure  so  full  of  the  most  intense,  individual  life  and 
character,  are  merely  spectators,  introduced  partly  for  balance  and  composi- 
tional dignity,  but  principally  for  the  purpose  of  portraying  the  noted  Floren- 
tines of  Ghirlandajo's  day.  They  are  all  portraits  of  members  of  the  Torna- 
buoni,  the  Ridolfi,  the  Medici,  and  other  celebrated  Florentine  families, 
among  them,saysVasari,"the  most  learned  men  then  to  befound  in  Florence." 
Though  they  are  placed  in  somewhat  angular  and  artificially  planned  groups 
there  is  no  effect  of  unreality  or  even  of  posing  about  any  of  them.  They  are 
all  alive,  vividly  and  sharply  characterized. 

Against  these  acutely  individualized  portraits  of  fifteenth-century  Italians, 
the  graceful  figure  of  the  angel  and  the  venerable,  impressive  one  of  the  doubt- 
ing Zacharias  stand  out  in  strong  relief.  More  lovely  than  the  angelic  visitor 
are  the  four  Florentine  maidens  at  the  right  under  the  arch  through  which  is 
seen  a  glimpse  of  sky  and  city  buildings. 

•FLORENTINE    LADY'   [DETAIL     FROM    'BIRTH     OF    ST.    JOHN     THE    BAPTIST']         PLATE    IV 

SCARCELY  less  interesting  than  the  'Appearance  of  the  Angel  to  Zach- 
arias' in  the  St.  John  frescos  in  Santa  Maria  Novella  is  the  scene  imme- 
diately above,  depicting  the  'Birth  of  the  Baptist.'  In  treatment  and  style 
it  is  similar  to  the  '  Birth  of  the  Virgin'  (plate  ii)  on  the  opposite  wall. 

At  the  left,  half  raised  in  bed,  is  Elizabeth,  looking  towards  a  group  who 
have  just  entered  from  a  door  at  the  right.  The  first  of  this  group  is  the 
young  woman  whose  head  is  here  reproduced.    Following  her  are  two  older 

[:ni] 


36  MASTERSINART 

women  attendants,  and  back  of  them  comes  a  serving-maid  bearing  a  basket 
of  fruit  on  her  head  and  a  flagon  of  wine  in  her  hand.  On  the  left,  seated  be- 
low the  bed,  are  the  nurse,  holding  the  new  little  St.  John,  and  another  woman, 
who  extends  her  arms  as  if  to  take  the  child.  Behind  the  bed  a  young  maid- 
servant brings  a  waiter  spread  with  glasses  and  decanters  of  wine. 

The  chief  interest  of  the  picture  centers  about  the  visitors,  and  critics  have 
greatly  praised  both  the  beautiful  young  Florentine  lady  and  the  servant  be- 
hind her  for  their  exquisiteness  of  line  and  contour,  and  grace  and  rh3'thm  of 
carriage.  The  Duchess,  as  M.Muntz  calls  the  young  woman,  whose  air  of  high 
distinction  easily  merits  the  title,  is  dressed  in  a  rich  brocaded  robe  that  falls 
about  her  in  straight,  deep  folds,  the  bodice  cut  low,  showing  a  gold  chain  with 
a  jeweled  pendantonherbreast.  Herhandsarecrossed  at  herwaist  and  she  car- 
ries a  fan  and  a  handkerchief.  From  beneath  her  hair,  which  is  parted  severely 
and  brought  about  her  head  almost  like  a  cap,  drop  down  over  her  ears  en- 
trancing curls  that  emphasize  the  delicate  curves  of  her  cheek  and  neck.  Her 
eyes  are  turned  to  the  right,  looking  out  of  the  picture,  her  regard  is  quiet,  ob- 
servant, and  her  whole  appearance  is  one  of  sweet,  dreamy  contemplation.  In 
spite  of  her  fifteenth-century  costume,  she  might  easily  be  a  maiden  of  to-day, 
and  indeed  the  whole  picture,  as  Mr.  Hoppin  has  said,  "strikes  one  like  a 
modern  painting,  interesting  in  any  age,  life-full,  its  complex  features  clearly 
differentiated,  broad  in  composition,  and  preserving  in  its  groupings  a  balance 
of  pleasing  and  harmonious  lines." 

'ADORATION    OF    THE    KINGS'  PLATE     V 

"  /"^HIRLANDAJO'S  altar-picture  in  the  Church  of  the  Innocenti,"  writes 
VJT  Herr  Steinmann,  "is  one  of  the  wonders  of  the  art  of  painting  over 
which  fateful  time  himself  has  forborne  to  lay  his  hand.  Four  hundred  years 
have  not  changed  its  color,  and,  from  fatal  restoration  almost  free,  it  still 
smiles  at  us  to-day  from  above  the  high  altar  of  the  church  for  which  it  was 
designed." 

Painted  in  1488,  this  'Adoration  of  the  Kings'  represents  Ghirlandajo's 
highest  attainment  in  panel  picture.  Vasari's  praise  of  it  scarcely  seems  ex- 
cessive when,  after  remarking  the  number  of  "very  beautiful  heads,  both  old 
and  young,  the  attitude  and  expression  fairly  varied,"  he  continues,  "  in  the 
countenance  of  Our  Lady,  more  particularly,  there  is  the  manifestation  of  all 
modesty,  grace,  and  beauty  that  can  be  imparted  to  the  mother  of  the  Son  of 
God  by  the  painter's  art." 

The  picture  is  crowded  with  figures  of  all  ages  and  all  conditions.  Ghir- 
landajo  might  almost  have  painted  it  to  show  how  his  brush  could  depict  old 
men  or  young,  delicate  women  or  tender  children  or  even  the  very  angels  of 
heaven,  with  equal  facility.  Mary,  clothed  in  the  conventional  red  and  blue, 
is  seated  on  some  marble  steps  before  an  elaborately  carved  Renaissance 
"pent-house,"  which  serves  as  the  Biblical  stable.  Behind  her  the  heads  of  ox 
and  ass  look  out,  and  back  of  them,  peering  over  the  lower  side  wall  of  the 
structure,  two  shepherds  are  seen.  At  the  right  of  Mary,  Joseph  rests  leaning 
on  his  staff,  his  blue  tunic  and  yellow  mantle  making  vivid  contrast  with  the 

[372] 


GHIRLANDAJO  37 

Virgin's  robes.  The  Child  on  his  mother's  knee  is  Hfting  his  httle  hand  blessing 
the  gray  bearded  king  whose  gorgeous  red  mantle  with  the  brocaded  blue 
lining  covers  his  kneeling  figure  in  full  rich  folds.  Beside  this  king,  who  is 
kissing  the  Baby's  feet,  kneels  the  second  magi  bearing  his  vase  of  perfumes; 
he  is  a  middle-aged  man,  in  a  blue  tunic  and  red  mantle  lined  with  yellow. 
Opposite  stands  the  third  royal  gift-bearer,  young  and  light-haired,  dressed  in 
a  violet  tunic  and  green  mantle.  "No  more  beautiful  youth,"  says  Herr  Stein- 
mann,  "has  Ghirlandajo  ever  painted."  In  the  foreground  at  the  left  kneels 
John  the  Baptist,  presenting  to  the  Holy  Child  one  of  the  little  "Innocents," 
and  at  the  right  another  is  under  the  care  of  John  the  Evanrrdist.  These  two 
exquisite  baby  figures  with  their  halos  and  their  bleeding  scars  are  supposed 
to  typify  the  martyred  children  of  Herod's  massacre.  On  each  side  of  this 
principal  group  are  attendants  and  spectators,  one  of  the  young  men  standing 
immediately  back  of  the  youthful  king  being  a  portrait  of  Ghirlandajo  him- 
self. Over  the  roof  of  the  "pent-house"  four  graceful  angels  bear  a  scroll  on 
which  is  WTitten  "Gloria  in  excelsis." 

The  distance  represents  a  wide  curving  river  with  high  banks,  on  the  left  of 
which,  before  a  fortified  town,  is  seen  the  'Massacre  of  the  Innocents,'  and  on 
the  right  the  'Annunciation  to  the  Shepherds.' 

'PORTRAIT    OF    AN     OLD     MAN    AND     HIS    GRANDSON'  PLATE     V, 

THE  '  Portrait  of  an  Old  Man  and  His  Grandson '  at  the  Louvre  is  one  of 
the  world-famous  portraits.  In  it  Ghirlandajo  demonstrates  both  his  un- 
compromising realism  and  his  not  less  vivid  feeling  for  beautw  Though  he  is 
noted  above  all  else  for  his  striking  portraits  of  the  men  of  the  Florence  of  his 
day,  in  more  than  one  of  his  great  frescos  he  has  shown  his  ability  to  portray 
gentle  maid  and  dignified  matron  as  well.  Occasionally,  too,  in  altar-piece  or 
wall  panel,  he  has  drawn  dainty,  exquisite  angel  forms  that  are  as  delicate  and 
lovely  as  his  men  are  forceful  and  actual.  In  this  portrait  of  child  and  man 
the  two  sides  of  his  art  are  at  their  highest  expression.  The  old  man  in  his  red* 
robe  bordered  with  fur  is  delineated  with  an  unsparing  brush  —  not  one  ugly, 
awkward  blemish  omitted  —  and  yet  the  face  does  not  repel.  One  forgets 
coarse  lines  and  heavy  masses  of  bulging  flesh  and  feature  because  of  the  ten- 
derness with  which  he  gazes  at  the  small  boy.  As  for  the  child,  Ghirlandajo 
seldom  painted  a  lovelier,  fairer  face  than  this  golden-haired  bov  with  the  red 
cap  on  his  curls  who  is  looking  up  at  his  grandfather  as  if  that  ugly  tace  meant 
all  the  world  to  him.  The  whole  picture  is  a  remarkable  bit  of  character- 
painting. 

It  measures  two  feet  high  by  one  foot  six  inches  wide. 

"DEATH     OF    ST.     FRANCIS'  PLATE     VII 

ST.  FRANCIS,  whose  life  Ghirlandajo  commemorated  in  his  six  frescos  in 
the  Sassetti  Chapel  of  Santa  Trinita  in  Florence,  was  the  son  of  a  rich 
merchant  of  Assisi,  who  resigned  his  inheritance  to  take  up  the  life  of  po\erty, 
preaching,  and  prayer.  He  was  the  founder  of  the  Franciscan  order  of  monks, 
and  lived  in  the  early  part  of  the  thirteenth  century. 

[373] 


3S  MASTERS    IN    ART 

The  death  of  the  saint,  universally  considered  the  finest  of  the  series,  shows 
St.  Francis  stretched  out  on  his  bier  surrounded  by  his  mourning  monks,  with 
the  bishop  chanting  the  prayers  for  the  dead  at  the  left. 

Crowe  and  Cavalcaselle  say  of  this  picture  that  it  "is  admirable  for  technical 
skill,  for  modeling,  for  precision  and  truth.  The  noblest  realism  supplies  the 
place  of  ideal  elevation,  and  if  the  religious  calm  of  Giotto  may  be  sought  in 
vain,  the  scene  in  its  completeness  is  the  grandest  display  of  the  art  of  its 
time.  .  .  .  Were  it  not  for  a  certain  staid  nature  in  the  figures,  we  should  say 
not  Ghirlandajo  but  Raphael  is  the  painter.  But  this  scene  as  a  composition 
invites  comparison  with  a  similar  one  executed  by  Giotto,  the  great  founder  of 
the  Florentine  school,  in  whom  noble  feeling,  propriety,  significance,  and 
judgment  in  the  distribution  of  space  were  combined.  .  .  .  Taking  Giotto's 
'  Death  of  St.  Francis 'in  the  Bardi  Chapel  (see  Masters  in  Art,  Part  32,  Vol.  3), 
contrasting  it  with  this,  we  shall  note  that  Giotto  takes  the  saint  in  a  glory  to 
heaven,  and  hat  one  of  the  monks  at  the  bedside  looks  up  and  tempers  his 
grief  at  the  departure  of  Francis  by  the  knowledge  that  he  is  already  on  the 
way  to  heaven.  Were  this  incident  withdrawn  from  Giotto's  fresco,  its  signifi- 
cance would  be  lost.  Ghirlandajo  neglected  this  episode.  He  increased  the 
number  of  spectators  about  the  death-bed.  The  scene  assumes  a  more  real 
appearance  but  is  less  true  to  the  spirit  of  the  time  of  St.  Francis  than  that  of 
Giotto.  Abandoning  prescription,  he  sacrificed  the  simplicity  of  the  olden 
time  to  the  pomp  of  a  more  modern  epoch,  a  useless  and  disadvantageous 
luxury  and  surrender  of  the  severe  simplicity  of  the  earlier." 

'THE    VISITATION'  PLATE    \' III 

''  I  ""HE  VISITATION,'  a  panel  picture  begun  by  Ghirlandajo  in  1491  and 
JL  finished  by  his  assistants,  principally,  perhaps,  by  Mainardi,  after  the 
master's  death,  was  ordered  by  Lorenzo  Tornabuoni  for  his  chapel  in  the 
Church  of  Cestello.  Now  in  the  Louvre,  it  was  one  of  the  treasures  which 
Napoleon  sent  home  from  Italy,  and  unlike  most  of  the  art-spoils  of  the  con- 
quering Frenchman,  was  never  returned  to  its  native  land. 

In  front  of  an  arched  opening  giving  a  distant  view  of  sea  and  fortified  town, 
Mary  stands  leaning  over  Elizabeth,  her  hands  on  the  elder  woman's  shoulders, 
whose  full  orange-colored  robe  with  its  red  sleeves  and  white  head-dress  leave 
little  more  than  her  profile  exposed  to  view.  Mary's  dark  blue  mantle  is  caught 
together  at  the  breast  by  an  enormous  brooch,  but  her  gauzy  head-dress  of 
ruflfled  muslin  does  not  hide  the  soft  hair,  which  is  drawn  down  over  her  ears. 
Mary  Cleophas  is  at  the  left  of  the  two,  her  green-gowned  figure  with  its  crim- 
son cloak  half  cut  by  the  line  of  the  panel.  Salome  advances  from  the  right, 
her  gray  draperies  blowing  out  from  her  spirited  figure  as  if  the  wind  and  she 
had  had  a  tussle.  The  four  figures  have  much  dignity,  and  are  effectively  bal- 
anced against  one  another.  The  three  younger  women  especially  are  remark- 
able for  the  beauty  of  their  poses  and  the  sweetness  and  intelligence  of  their 
expressions.  There  is  a  gentle  wondering  melancholy  on  the  face  of  Mary  that 
suggests  the  Botticelli  type,  though  without  the  strain  and  stress  so  generally 
felt  in  that  master's  Madonnas. 

The  panel  measures  five  feet  four  inches  high  by  five  feet  three  inches  wide. 

[;?74] 


GHIRLANDAJO  39 

•THEMADONNAEN THRO NED'  PLATEIX 

THE  'Madonna  Enthroned,'  which  is  now  in  the  Uffizi,  was  originally 
painted  for  the  Church  of  S.  Giusto,  near  Florence.  When  this  church 
was  demohshed  during  the  siege  of  1530  it  was  transported  to  the  Church  of 
the  Calza,  where  it  remained  till  1857,  when  the  authorities  removed  it  to  the 
Uffizi.  It  is  one  of  Ghirlandajo's  most  famous  panel  pictures,  and  Vasari 
praises  it  highly,  saying  that  "nothing  better  could  be  executed  in  tempera." 

The  Virgin  is  seated  on  a  throne  raised  on  an  open  portico  with  decorated 
colored  marble  tiling,  a  richly  carved  colonnade  behind  her  spreading  into  a 
semi-domed  niche  over  her  head.  She  is  dressed  in  rose  and  blue  toned  robes 
with  a  soft  white  transparent  veil  that  falls  over  her  forehead  down  each  side 
of  her  face  on  her  neck  and  shoulders.  The  baby  Jesus  sits  upright  on  her 
knee,  his  right  hand  lifted,  blessing  the  two  saints  Zenobius  and  Justus,  who 
kneel  before  him  at  the  foot  of  the  throne.  At  the  left  of  the  Madonna  stands 
the  angel  Michael  in  full  armor,  carrying  his  sword,  and  at  the  right  Gabriel, 
in  a  yellow  tunic  and  red  mantle  lined  with  green.  Close  against  each  side 
of  the  throne-chair  are  two  little  angels,  the  two  in  front  bearing  sprays  of 
lilies.  Stretched  over  the  marble  steps  below  the  Madonna's  feet  is  an  oriental 
rug,  the  texture  and  design  painted  with  all  the  care  for  detail  and  exactness  so 
inseparable  a  part  of  Ghirlandajo's  talent.  On  the  lowest  step,  between  the 
two  kneeling  saints,  is  a  vase  of  white  ascension  lilies. 

The  Madonna  has  a  sweet,  placid  beauty,  and  is  not  without  a  certain  dig- 
nity and  impressiveness  in  her  pose  and  in  the  fall  of  her  voluminous  draperies, 
while  the  Child  has  a  round  babyish  figure,  with  an  earnest,  intent  little  face. 
But  in  the  angels  and  the  two  saints  Ghirlandajo  is  seen  at  his  best.  St.  Zen- 
obius, one  time  Bishop  of  Florence,  and  St.  Justus,  Bishop  of  Volterra,  are 
living  and  actual,  painted  with  the  portrait-like  fidelity  to  truth  and  nature 
so  characteristic  of  the  Florentine  artist,  the  hands  alone  betraying  the  want 
of  exact  anatomical  construction  —  a  not  unusual  failing  with  him.  Balancing 
these  two,  giving  light  and  brightness  and  charm  to  the  whole  picture,  are  the 
four  little  angels  and  the  two  archangels,  the  flower-like  faces  of  the  former 
not  unworthy  of  the  brush  of  Raphael  himself. 

The  picture  measures  about  five  feet  seven  inches  high  by  six  teet  wide, 

'CALLING  OF  PETER  AND  ANDREW'  PLATE  X 

IN  October,  148 1,  Ghirlandajo  was  called  to  Rome  to  help  decorate  the  Sis- 
tine  Chapel.  He  is  said  to  have  painted  some  few  of  the  twenty-eight  por- 
traits of  the  popes  in  the  niches  above  the  frescos  of  the  side  walls,  but  his  two 
principal  works  were  the 'Resurrection 'and  the 'Calling  of  Peter  and  Andrew.' 
All  the  authorities  unite  in  praising  this  latter  fresco,  and  in  declaring  it  one  of 
the  very  best  of  the  entire  series.  Were  it  not  so  completely  overshadowed  by 
Michelangelo's  stupendous  ceiling  above,  even  the  ordinary  sightseer  could 
not  fail  to  recognize  its  own  intrinsic  strength  and  beauty. 

The  scene  is  represented  as  taking  place  on  the  shores  of  Lake  Gennesaret 
at  the  beginning  of  Christ's  ministry.   The  central  figure  is  Jesus  himself,  who, 

[375] 


40  MASTERSINART 

robed  in  a  blue  mantle,  stands  with  uplifted  hand  blessing  Peter  and  Andrew, 
whom  he  has  just  called  as  followers.  The  two  newly  made  disciples,  one 
dressed  in  yellow,  the  other  in  dark  green,  kneel  before  the  Master,  their  atti- 
tudes and  expressions  full  of  a  deep  humility  and  reverence.  On  both  sides  of 
this  central  group  Ghirlandajo  has  introduced  a  crowd  of  spectators,  all,  as 
was  his  custom,  in  the  Florentine  dress  of  his  day.  These  are  well  placed,  well 
massed,  and  in  their  quiet  observant  poses  detract  nothing  from  the  impressive- 
ness  of  the  scene  which  they  are  watching. 

Among  those  at  the  left  can  be  recognized  some  of  the  best  known  of  the 
Florentine  colony  then  living  in  Rome.  The  man  in  a  violet  cloak  is  the  Arch- 
bishop Rainoldo  Orsini,  the  Greek  Argyropolos  is  somewhat  nearer  the  front, 
as  is  also  Giovanni  Tornabuoni. 

Back  of  these  figures,  which  completely  fill  the  foreground,  stretches  the 
lake  with  precipitous  cliflF-like  shores  showing  in  the  distance  fortified  castles 
and  turreted  city  walls.  In  the  middle  distance  two  subsidiary  scenes  are  por- 
trayed. At  the  left,  Jesus,  again  surrounded  with  a  crowd  of  observers,  is  de- 
picted in  the  act  of  calling  Peter  and  Andrew,  who  are  lifting  their  nets  from 
the  boat  not  far  from  shore.  The  Master  is  once  more  seen  on  the  right  bank, 
this  time  with  Peter  and  Andrew  close  behind.  He  is  now  summoning  James 
and  John,  the  sons  of  Zebedee,  whose  fishing-boat  is  just  about  touching  the 
shore. 

Though  Ghirlandajo  has  here  followed  the  custom  so  general  with  the  early 
Renaissance  painters  of  introducing  various  incidents  within  the  boundaries 
of  one  picture,  he  has  not  thereby  made  an  incoherent  or  badly  massed  com- 
position. The  two  minor  scenes  in  the  middle  distance  are  treated  as  simple 
and  unobtrusive  subsidiaries,  in  no  wise  limiting  the  power  and  importance  of 
the  scene  which  fills  the  foreground.  Everything  seems  but  to  add  to  the  calm 
majesty  and  benignant  might  of  the  figure  of  Jesus  himself,  a  figure  almost  as 
nobly  conceived  as  Masaccio's  Christ  in  the  'Tribute  Money.'  Indeed,  critics 
have  remarked  upon  a  certain  similarity  in  the  attitudes  of  these  two  noble 
examples  of  the  fifteenth-century  ideal  of  the  Man  of  Sorrows. 


A     LIST    OF    THE    PRINCIPAL    PAINTINGS     BY    GHIRLANDAJO 
WITH    THEIR     PRESENT    LOCATIONS 

ENGLAND.  London,  National  Gallery:  Portrait  of  Youth  —  London,  Mr. 
Robert  Benson's  Collection-.  Francesco  Sassetti  and  His  Son — London,  Dr 
LuDwiG  Mond's  Collection:  Madonna  and  Child — London,  Mr.  Salting's  Col- 
lection: Madonna  and  Child  with  St.  John — FRANCE.  Paris,  Louvre:  The  Visita- 
tion (in  part)  (Plate  viii);  Portraitof  Old  Manand  His  Grandson  (Plate  vi)  —  Paris,  Mr. 
Rudolph  Kann's  Collection:  Portrait  of  Giovanna  Tornabuoni  —  GERMANY. 
Munich  Gallery:  Madonna  in  Glory;  St.  Catherine  of  Siena;  St.  Laurence  as  a  Deacon — 
ITALY.  Florence,  Academy:  Madonna  and  Child  with  Saints;  Adoration  of  the  Shep- 
herds—  Florence,  Uffizi  Gallery:  Adoration  of  the  Magi;  The  Madonna  Enthroned 
(Plate  IX)  —  Florence,  Museum  of  San  Marco,  small  refectory  :  Last  Supper  (fresco) 
—  Florence,  Church  of  the  Innocenti:  Adoration  of  the  Kings  (Plate  v) — Florence, 
Church  of  Santa  Maria  Novella,  choir:  Seven  Scenes  illustrating  Life  of  the  Virgin 

[370] 


GHIRLANDAJO  '  '•41= 

(frescos),  including  Birth  of  the  Virgin^  (Plate  11);  Seven  Scenes  illustrating  Life  of  St. 
John  the  Baptist^  (frescos),  including  Appearance  of  Angel  to  Zacharias  (Plate  in);  Birtii 
of  St.  John  (see  Plate  iv);  Four  Evangelists  (frescos);  Coronation  of  Virgin  (fresco);  An- 
nunciation (fresco);  Patron  Saints  of  Florence  (fresco);  Scenes  illustrating  incidents  from 
Lives  of  St.  Dominic,  St.  Peter  Martyr,  and  St.  John  (frescos);  Portraits  of  Giovanni 
Tornabuoni  and  His  Wife  (frescos) — Florence,  Church  of  the  Ognissanti:  St. 
Jerome  (fresco);  Madonna  della  Misericordia  and  Pieta  (fresco)  —  Florence,  Convent 
OF  the  Ognissanti,  refectory-.  Last  Supper  (fresco)  —  Florence,  Palazzo  VeCchio, 
Sala  DEI  Gigli:  Triumph  of  St.  Zenobius  (fresco);  Roman  Warriors  (fresco)  —  Flor- 
ence, Cathedral:  Annunciation  (mosaic  over  side  entrance)  —  Florence,  Church  of 
Santa  TrinitA,  Sassetti  Chapel:  [on  the  walls]  St.  Francis  banished  from 
Home;  Pope  Honorius  confirms  Rules  of  Order;  St.  Francis  before  the  Sultan;  St.  Fran- 
cis receiving  the  Stigmata;  Restoring  Child  to  Life;  Death  of  St.  Francis  (Plate  vii); 
Portraits  of  Francesco  Sassetti  and  His  Wife  (frescos);  [ceiling]  Four  Sibyls  (frescos); 
[outer  wall]  God  the  Father  in  Glory  (fresco);  Sibyl  Prophesying  (fresco)  —  San 
Gimignano,  Cathedral:  [chapel  of  santa  fina]  Vision  of  Santa  Fina  (fresco); 
Death  of  Santa  Fina  (fresco)  (Plate  i);  [chapel  of  s.  Giovanni]  Annunciation  (fresco) 
—  Lucca,  Cathedral,  sacristy:  Madonna  and  Child  with  Saints  —  Lucca,  Church 
OF  San  Martino,  sacristy:  St.  Peter  and  St.  Paul  —  Narni,  Municipal  Museum: 
Coronation  of  the  Virgin  —  Pisa  Gallery:  SS.  Sebastian  and  Roch — Pisa,  Church  of 
St.  Anna:  Madonna  and  Child  with  Saints — -Pisa,  Rimini  Gallery:  Three  Saints  and 
God  the  Father  —  Rome,  Vatican  [sistine  chapel]:  Calling  of  Peter  and  Andrew 
(fresco)  (Plate  x);  Portraits  of  Popes  (frescos) — -Volterra,  Municipal  Museum: 
Christ  in  Glory  adored  by  Two  Saints  —  Volterra,  Lo  Spedaletto:  Story  of  Vulcan 
(fresco). 


(^|)trlantia]o  33tbliograpi)j> 

A     LIST     OF     THE    PRINCIPAL    BOOKS    AND     MAGAZINE    ARTICLES 
dealing    WITH    GHIRLANDAJO 

ALEXANDRE,  A.  Histoire  populaire  de  la  peinture:  ecole  italienne.  Paris  [1894]  — 
/\  Allen,  G.  Florence,  Boston,  1902  —  Berenson,  B.  Florentine  Painters  of  the 
Renaissance.  London,  1900  —  Blashfield,  E.  H.  and  E.  W.  Italian  Cities.  New 
York,  1900  —  BocK,  E.  Florentinische  und  venezianische  Bilderrahmen  aus  dcr  Zeit  der 
Gotilc  und  Renaissance.  Munich,  1902  —  Brinton,  S.  The  Renaissance  in  Italian  Art. 
London,  1903  — Brockhaus,  H.  E.  Forschungen  iiber  florentiner  Kunstwerke.  Leipsic, 
1902  —  Bryan's  Dictionary  of  Painters  and  Engravers.  London,  1903-05  — 
Burckhardt,  J.  Der  Cicerone.  Leipsic,  1 898  —  Cartwright,  J.  Christ  and  His 
Mother  in  Italian  Art.  London,  1897  —  Castellazzi,  G.  La  basilica  di  S.  Trinita  i 
suoi  tempi  ed  il  progetto  del  suo  restuaro.  Florence,  1SS7  — Crowe,  J,  A.,  and  Caval- 
CASELLE,  G.  B.  a  New  History  of  Painting  in  Italy.  London,  1 864  —  Forster,  E. 
Geschichte  der  italienischen  Kunst.  Leipsic,  i  872  —  Harwood,  E.  Notable  Pictures  in 
Florence.    London,  1905  — Hoppin,  J.  M.    Great  Epochs  in  Art  History.    Boston,  1901 

—  Horner,  S.  and  J.  Walks  in  Florence.  London,  1S73 —Jameson,  A.  B.  Memoirs 
of  Early  Italian  Painters.  Boston,  1896  — Karoly,  K.  Guide  to  the  Paintings  of  Flor- 
ence. London,  1893  — Knackfuss,  H.,  and  Zimmermann,  M.  G.  Allgemcmc  Kunst- 
geschichte.  Leipsic,  1900  — Kugler,  F.  T.  Italian  Scho-ls  of  Paintmg.  Revised  by 
A.  H.  Layard.    London,  1900 — LafENESTRE,  G.     La  pt-inture  italienne.     Pans  [1885] 

—  Lafenestre,  G.,  and  Richtenberger,  E.  La  peinture  en  Europe:  Florence  [  i  S94 J 
Lafenestre,  G,    Grands  Maitres  de  la  Renaissance.    London,  1888  — Lanzi,  L.    His- 

1  These  fourteen  frescos  are  named  in  the  descriptions  of  Plate  11  and  Plate  iii  . 

[:nT] 


4*2  MASTERSINART 

tory  of  Painting  in  Italy.  Trans,  by  Thomas  Roscoe.  London,  1S47 — Layard,  A.  H. 
Domenico  Ghirlandajo.  London,  i860 — Lubke,  W.  GescliiclUe  der  italienischen  Ma- 
lerei.  Stuttgart,  i  S  78  —  Lubke,  W.  Outlines  of  the  History  of  Art.  NewYork,  1904  — 
Mantz,  p.  Les  chefs-d'oeuvre  de  la  peinture  italienne.  Paris,  1870  —  Mantz,  P.  Gliir- 
landajo  (in  Blanc's  Histoire  des  Peintres).  Paris,  1876 — Martelli,  D.  La  Pittura  del 
400  a  Fircnze  (in  La  Vita  italiana  nel  Renascimento).  Milan,  1899  —  MiJNTZ,  E.  His- 
toire de  I'art  pendant  la  Renaissance.  L'age  d'or.  Paris,  1891 — MiJNTZ,  E.  L'arte 
italiana  nel  quattrocento.  Milan,  1894 — Muntz,  E.  Florence  et  la  Toscane.  Paris, 
1897  —  Phillimore,  C.  M.  Fra  Angelico.  London,  1881 — Philippi,  A.  Die  Kunst 
der  Renassance  in  Italien.     Leipsic,  1897  —  Rio,  A.  F.    De  I'art  chretien.     Paris,   1861 

—  RossETTi,  W.  M.  (in  Encyclopedia  Britannica).  Ghirlandajo.  Edinburgh,  1883  — 
RuMOHR,  C.  F.  VON.  Italienische  Forschungen.  Berlin,  1827 — Ruskin,  J.  Mornings 
in  Florence.    Orpington,  1  875  —  Schubring,  P.    Moderne  Cicerone.    Stuttgart  [1902— 03] 

—  Scott,  L.  The  Renaissance  in  Italy.  London,  1883  —  Steinmann,  E.  Ghirlandajo. 
Leipsic,  1897 — Stillman,  W.  J.  Old  Italian  Masters.  NewYork,  1S92 — Symonds, 
J.  A.  Renaissance  in  Italy.  Fine  Arts.  London,  1897 — Taine,  H.  Italy.  Florence 
and  Venice.  Trans,  by  J.  Durand.  New  York,  J869  —  Vasari,  G.  Lives  of  the  Paint- 
ers.   NewYork,  1897  —  Wherry,  A.    Stories  of  the  Tuscan  Artists.    NewYork,   1901 

—  WoERMANN,  K.  Domenico  Ghirlandajo  (in  Dohme's  Kunst  und  Kiinstler,  etc.). 
Leipsic,  1878 — Woltmann,  A.,  and  VV^oermann,  K.  History  of  Painting.  Trans,  by 
Clara  Bell.    London,  1887 — Yriarte,  C.  E.     Florence.     Paris,  1881. 


magazine   articles 

ARCHIVIO  STORico  dell'  arte,  1 891:  N.  Baldoria;  Monument!  artistic!  in  San 
,.  Gimignano.  1890:  E.  Ridolfi;  Giovanna  Tornabuoni  e  Ginevra  dei  Benci  sul  coro 
di  Santa  Maria  Novella  in  Firenze  —  Art  Journal,  1889:  F.  Sitwell;  Types  of  Beauty 
in  Renaissance  and  Modern  Painting.  1898:  M.  Cruttwell;  Newly  Found  Portrait  by 
Ghirlandajo  of  Amerigo  Vespucci  —  Athen^.um,  1898:  E.  Levij  Notes  from  Florence. 
1902:  On  One  of  Ghirlandajo' s  Frescos  in  the  Sassetti  Chapel  —  Gazette  des  Beaux- 
Arts,  1874:  R.  Menard;  Domenico  Ghirlandajo.  1888:  W.  Bode;  La  Renaissance  au 
Musee  de  Berlin.  189S:  M.  Paleologue;  Le  portrait  de  Giovanna  Tornabuoni  par  Do- 
menico Ghirlandajo.  1898:  M.  L. ;  Une  nouvelle  fresque  de  Ghirlandajo  a  Florence  — 
Jahrbuch  der  Preussischen  Kunstsammlungen,  1904:  E.  Jacobsen;  Studien  zu  einem 
Gemalde  aus  der  Ghirlandajo-Werkstatt  in  der  Berliner  Galerie — Magazine  of  Art, 
1897:  L.  Scott;  Art  and  Romance  of  Renaissance  Girlhood.  1898:  L.Scott;  Discovery 
of  Ghirlandajo' s  Vespucci  Fresco  —  Saturday  Review,  1898:  H.  P.  Home;  The  Newly 
Discovered  Portrait  of  Amerigo  Vespucci  by  Ghirlandajo  — Scribner's  Magazine,  1S93: 
E.  H.  and  E.  W.  Blashfield;  The  Florentine  Artist — Zeitschrift  fur  Bildende 
Kunst,  1897:  W.  Thienie;  Ein  Portnit  der  Giovanna  Tornabuoni  von  Domenico  Ghir- 
landajo. 

[378] 


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1\  /TASTERS  IN  JRT  was  established  in  January,  1900.  As  will  be 
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Volume  III  (1902)  treats  of  Phidias,  Perugino,  Holbein,  Tintoretto, 
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Volume  V  (1904)  treats  of  Fra 
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Volume  VI  (1905)  treats  of  Watts, 
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